Abstract
This article explores aspects of the dancer–mirror relationship from the dancer’s perspective and examines the various ways the mirror may impact on dancers’ experiences in particular training environments. The essay foregrounds a small group of female university dance degree students’ own words about training with and without mirrors in contemporary dance technique classes and considers their descriptions alongside the existing literature. Ethnographic-style interviews with six dancers were conducted and key themes which emerged upon analysis inform the essay. Although contemporary dance is the focus, content is applicable to other Western theatre dance styles and training environments.